Pharrell Williams

Week 35: Sabrina Carpenter- Short n Sweet

~ honestopinions19 ~ Leave a comment

I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.

I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:

Taste:

We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.

Please Please Please:

It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.

Good Graces:

I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.

Sharpest Tool:

Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.

Coincidence:

It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.

Bed Chem:

Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.

Espresso:

Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?

Dumb & Poetic:

Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.

Slim Pickins:

Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.

Juno:

I was unaware , this song is a tribute to the 2007 film ‘Juno ‘,  that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.

Lie to Girls:

The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.

Don’t Smile:

The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.

Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’

8/10

Week Four: Eminem- Music to be Murdered By

~ honestopinions19 ~ Leave a comment

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Here is the track-by-track review:

Premonition (Intro):

Hahahaha, from this track alone, we have an album centred around his alter ego Slim Shady. As the piano is playing, you can hear a woman screaming as he raps about how all the original gangsters of the game have been forgotten because they are no longer considered popular by the new generation. However, he picks up on the hypocrisy included as he mentions that 2Chainz appears to be popular with the new generation, but he is, in fact, not that much younger than Eminem. It reminds me of when BBC Radio 1 deemed the likes of Green Day too old for their station, yet will play Pharrell Williams on their station despite him being around the same age as Green Day and staying on topic with the record Eminem. Eminem is trying to say that if you don’t make chart-friendly music, you will not get any attention from the generic listener. Hardcore fans, however, will listen regardless.

Unaccommodating:

Eminem always likes to bring new talent, and he has done it again with Young M.A. featuring on this track. This alone will intrigue Eminem fans, and you would think, get them to take a listen to her material or maybe even watch her pornographic film that is available on Pornhub hahaha (It’s called research. I haven’t seen it and was very surprised to discover that, she directed a porno. Oh, and M.A stands for “Me Always”.) the flow on this track is fantastic by Slim Shady and so is the rhyming. Rather than trying to describe it, I recommend you listen and lose yourself (No pun intended.).

You Gon’Learn:

Two features on this, Royce Da 5’9″ being co-rapper and White Gold singing a chorus that will, from what I have heard listening to this song, stand the test of time and is catchy as fuck. Royce Da 5’9″ uses a wide range of vocabulary and even mentions a very personal thing about his father going for a health screening. Em aims shit rappers, saying that they can’t work out when their words should land on the beat.

Alfred (Interlude):

Fuck’s sake, one of these pointless tracks, and no, I don’t care if it is Alfred Hitchcock, even though the album is named after something to do with Alfred. I’m curious if it’s one of his films, a reference in a film or something else. Either way, it’s another pointless record filler.

Those Kinda Nights:

Ed Sheeran is back, and I’m pretty sure he didn’t record his part in Australia and wait months for Slim Shady to get in touch, like what happened with “Revival” in 2017. Em enjoys working with the lad from Halifax, and the wordplay is incredible. Em foretells a story from the early-2000s.

In Too Deep:

Funny that the word “deep” should be mentioned in the title because this track has a profound subject. It’s about two relationships, where a wife is cheating on her husband with Eminem, who is cheating on his girlfriend. Still, neither the wife nor Eminem is willing to take their affair any further despite being much happier.

Godzilla:

This is an exciting track; it gets faster as it goes on. Juice WLRD provides a catchy hook, and Eminem increases his rhyming speed verse by verse. Is he going for a Guinness world record on this? I never even knew he could rap this fast.

Darkness:

Wow. Controversial, but I wouldn’t expect anything less from Slim Shady. He’s talking about committing a massacre while in a hotel room in Las Vegas. He’s speaking from the perspective of the terrorist from the Route 91 country music festival. The aim is to highlight what can happen when people are tipped over the edge and become mentally ill. You may call that guy a mentally ill lone wolf. Not for me. He planned to cause mass terror to a community, and he did so. That’s terrorism.

Leaving Heaven:

A song about optimism. Skylar Grey features.

Yah Yah:

Q-Tip is on the chorus, Royce Da 5’9″ is coming with straight-up honest lyrics, and I was delighted to see the most underrated rapper from the Roots, Black Thought. This guy is simply brilliant but always gets overlooked in the discussions of who is the best rapper or one of the best rappers. He is up there with Pac, Nas, Ice Cube and Eminem himself. He also doesn’t disappoint with his feature, either. I hope this will get Black Thought the recognition he deserves. Only the connoisseurs will know who he is. Denaun also features.

Stepdad (Intro):

Album filler where Em goes on a rant at his stepdad.

Stepdad:

Now to the track itself. I love how the hard drum kick compliments the subject and Em’s delivery. It fits in with the whole scarface rage thing. As the rage grows in the verses, in the final verse, Em talks about how he killed his stepdad with a baseball bat before beating the shit out of him and burying him next to his dog. The final bar says that if he goes to juvenile prison, he will tell them about why he did it.

Marsh:

Eminem is at his lyrical best. His flow as well is top-drawer.

Never Love Again:

I couldn’t tell if he was talking about his volatile relationship with his ex-wife Kim or his time on drugs. Either way, it’s a typical heartbreak song with a Slim Shady slant.

Little Engine:

The beginning sounds like Alfred Hitchcock talking before Em comes in. The beat is very creepy and something you would hear in a Dracula film or something.

Lock It up:

An Artist I was delighted to see on the record and, in all honesty, never expected to be Anderson.Paak mainly performs with the Free Nationals. Yes, Anderson can sing, but have you heard him rap? I can’t remember the name of the track I have listened to him rap on, but it was pure fire (Something about a woman, from what I remember.), and he compliments Slim Shady as they destroy the beat.

Farewell:

Slim Shady showcases more of his rhyming ability in this song about breaking up. If it isn’t about Kim, then I have no clue.

No Regrets:

Em has shown he can work with new school rap on this, and someone called Don Toliver features. I’ve heard this artist will be the one to watch this year, but this is my first discovery of him. I’m unsure if he can sing because he uses that fucking autotune. I can’t stand it, and it’s usually for those who can’t sing. Drake is a heavy user of it. He’s American, but I can hear the Caribbean in his vocals.

I Will:

What the fuck is this? As I said, I missed a fair chunk of Em’s career from 2003-2009 because I didn’t like the cheesy shite he was coming out with (Eight Mile an exception.), and I have no idea if this type of song was on those albums. KXNG Crooked, Royce Da 5’9, joins Slim Shady” and Joell Ortiz, where they reminisce and go fucking bar crazy. I loved Slim Shady’s controversial bars on this, and yeah, he’s up to his usual threatening some lady who hears Wu-Tang Clan and wanders out onto the patio to inspect, where he greets her by jumping out with a sword.

Alfred (Outro):

Just Alfred talking at the end.

Overall Review:

I planned on doing something other than these, but here we are. What I loved about “Music to be Murdered By” is he hasn’t lost his touch after “Revival” and “Kamikaze”. Yes, he might have taken his foot off Donald Trump’s throat, but this is still Slim Shady, who is pissed off and ready for war with the current rappers. This record is more aimed at his struggles in relationships and his battle with drug abuse. Not to mention the odd murder or controversial topics ( Being in the mind of a mentally ill terrorist, for example.). Since “Recovery” in 2010, I said Em was back, and he has further reiterated that on this album. His lyrical content is excellent and destroys rappers who weren’t even born when he was causing fuckery and pissing off the media in late-90’s/early 2000s. Loved his flow, delivery, wordplay and all-round lyrical content. Not to mention his speed, I have never heard him rap that fast with anger. If anything, this is an Alfred Hitchcock film, but in music form. I’ve listened to fucking snowflakes moan about the non-PC nature of this record, and they feel he should be banned or boycotted. Do fuck off, this is real rap, and there’s no political correctness in the game; it wasn’t designed for that. In rap, you shoot from the hip and fuck the consequences and people you piss off. Do you think Eminem is evil now? Wait until you fucking dickheads hear his material in the early years; you will fucking melt. Don’t like Eminem? Then don’t listen to him, and don’t listen to real rap.

Songs I recommend: “Godzilla”, “In too Deep” and “Yah Yah”.

8/10